Welcome - This is a Social Enterprise Business It aims to help potters and ceramic artists to become better known, to sell their work, to fill their courses and to provide a window into this fantastic world of 3D art!

New Members

Work for Sale

Ceramics by Rachel Grimshaw at Studiopottery.co.uk

Rachel Grimshaw

Ceramics by Patricia Shone at Studiopottery.co.uk

Patricia Shone

Upcoming events

Trelissick Christmas Craft Market at Trelissick Garden 15th - 17th December 2017
Janet Halligan - Christmas Sale at Old School, The (Nantwich) 16th - 17th December 2017 Janet Halligan - pre-Christmas clear out sale of old stock at greatly reduced prices
Emily-Kriste Wilcox in London at Contemporary Ceramics Centre 1st January to 1st April, 2018 New work from Emily-Kriste Wilcox for the show at Great Russell Street in London

Recently added Courses

Experimental Ceramic Workshop - Claire Ireland - 18th September to 20th November, 2017
This course will explore the use of clay in an experimental way 
Animal Sculpting With Celia Allen - 8th - 10th September 2017
Learn how to sculpt animals of various forms, with a possible Raku firing day to finish
Adult Summer Pottery Course with Mohamed Hamid - 28th August to 1st September, 2017
Hand building, throwing and decorating techniques! (previous week Fully booked!)
Slip Decorating With Richard Wilson - 23rd - 25th June 2017
Students will be throwing or press moulding forms to decorate with slips.

Danlami Aliyu – born about 1952; died 26 April 2012

Danlami Aliyu – born about 1952; died 26 April 2012
After Ladi Kwali, Danlami was the best modern potter in Nigeria. He learned at the Pottery Training Centre set up by Michael Cardew in Abuja. He was good, so I asked Michael if he would take him on at Wenford. He did. He thought Danlami was outstanding and arranged for the pots he made there to have a show at the commonwealth Institute. It was well reviewed in Crafts. After Wenford Danlami went to Farnham to learn about kiln-building. In the thesis he wrote at the end of his course he compared the pottery made at the Training Centre with the pots his mother used to buy locally.
This thesis was published whole in Pottery Quarterly. Out of respect for Michael he gave it to him in person.
On the train to Cornwall, Michael’s wife Mariel read it and was so moved by it that tears ran down her cheeks, charmed by his simple way of writing and the Africanisms which made it so vivid. Michael read it and was silent.
A comment made by Danlami in a spirit of humility, not of criticism devastated him. “ …..too complicated for us….”, the Training Centre and the fifteen happiest years of his life that he had spent setting it up, were a failure. “Too complicated”, those two words haunted me too and fundamentally changed the way I taught when I returned to Nigeria.
By this time, fifteen years after Cardew left, the Abuja training centre was in decline. After a further 6 years Danlami, having been overseas  and now understanding its significance, together Umaru his brother and myself decided to do something about it. We built a new pottery at Maraba, modelled on Abuja, hoping to recapture the extraordinary spirit it had while Michael was there. It was successful, Danlami stayed longer than I did and gave it a sound basis which enabled it to expand and last 20 years after he left.
To this day there are more good throwers in Maraba than in the rest of Nigeria.
The other things he did there would be of little interest here, except his regiment as he called them…..fifteen children! To spend a day in his compound was a pleasure, the younger ones were beguiling and so well behaved with inquisitive little faces, the adolescents graceful and friendly.
Danlami is remembered here (in the UK) as a student. He was young and handsome, a joker, popular with everybody. In Minna, as news of his death spread, crowds filled his compound, people from all walks of life from top civil servants (the Governor sent a representative) to poor potters who came from Maraba two hundred miles away.
He was very well liked and it was a great tribute, but how sad he has gone, he was only 59. What a pity so little of his brush decoration has been seen (and valued). He saw Cardew work, but his is different. It is so skillful that it is surprising it shows no trace of showmanship, instead it is simple, not the simplicity achieved by minimalism, but by a simplicity of spirit which sings as pure and as natural as a bird’s song.
Cardew thought him outstanding and so he was.
Michael O’Brien


Posted on May 25 2012 under News.